Beyond Nations : A Thematic History

Beyond Nations: A Thematic History

Manuel Pedro Ferreirа1

CESEM / FCSH, Universidade Nova de Lisboa, Portugal

Received: 15 September 2019Accepted: 1 November 2019

Original scientific paper

AbstractTh is paper describes an on-going project, the collaborative Th ematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. Th e importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th-18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early infl uence.

Keywords: transnational history, cultural exchanges, cross-Atlantic networks, African infl uence

Western Music is often regarded as a unified field, but it can articulate different approaches, intellectual concerns and aesthetic values. These cannot fail to be projected also into historical construction. Music, by its very nature, is uniquely able to engage people and travel far and wide in their memories and shared practices; it is also a privileged means of construction and negotiation of societal identities and subjectivities. Music History is increasingly regarded as part of this game. It supposes a vantage point, selective decisions, and perceived connections; it is guided by axio-matic beliefs, value judgements, and narrative paradigms.

Current historical narratives about music have been long dominated by a central European vantage point built on ideas of artistic progress, aesthetic autonomy and national supremacy. They are thus ripe for challenge and reconstruction. The shortcomings of the Western Music discourse, linked to central European traditions committed to writing, becomes evident in its undervaluation or outright failure to acknowledge Mediterranean music practices, oral or popular traditions and also global connections.

1 [email protected]

DOI https://doi.org/10.2298/MUZ1927163FU D C 78.03 46

164

МУЗИКОЛОГИЈА / MUSICOLOGY 27-2019

I will not deal here with the Eastern Mediterranean, which deserves its own analysis. What I wish to call your attention to, is that to the west of Genoa, Rome and Naples, the Mediterranean opens to the Atlantic, and since before 1500 it has been in touch with Western Africa and central and south America. Iberian culture and Latin America, where music practices are documented since the 16th century, have fallen however outside the radar of current histories of Western Music. These have also overlooked the lasting impact of African presence on both the European and American sides of the Atlantic. Adding to the ignorance or prejudice of mainstream scholars, the nationalistic agendas of an earlier generation of Portuguese, Spanish and Brazilian musicologists have also obscured the international identity of their music. There is clearly a need to present the world with a unified effort to study and promote north-south, intercontinental musical exchanges as a significant and influential part of Western cultural history.

Appeals for the renovation of music historiography have been voiced, from diffe-rent perspectives, since the late 20th-century. Yet only a few changes have come to pass. The crossing of frontiers between “high” and “low” cultures in Western music and the valuation of semi-popular genres have only slowly taken place, mainly as far as the 20th-century is concerned (Cook & Pople 2004, Fulcher 2010, Seaton 2017). In spite of their strengths, The Oxford History of Western Music (2005), single-authored by Richard Taruskin from a contextualist stance, and the volume Histoires des musiques européennes under the encyclopaedia Musiques (2003-2007) directed by Jean-Jacques Nattiez, bring little novelty to established narratives if seen from a southern vantage point. The integration of the American panorama into the larger history of Western Music has occurred only in a very timid way both there and in the successive updates of Grout/Palisca’s History of Western Music by J. Peter Burkholder (2005, 2009, 2014). The eight-volume Historia de la música en España e Hispanoamérica edited by Carredano & Rodriguez (2009-2018) crosses the Atlantic but is largely a projec-tion of Spanish academic strength along traditional historiographical lines, allowing only three chapters for Latin-America before 1800 and failing to provide, from 1800 onwards, a dialogue between Spanish and Hispano-American histories, which occupy different volumes.

The musicological community, and its larger public, are therefore still waiting for a fullyfledged example of how music historiography can be reconfigured through teamwork according to the most recent, critical perspectives. This, besides countering nineteenth-century metanarratives, should go beyond the linear chronology, work/composer, centre/periphery, nationalistic paradigms still in force, and attempt to redress the balance between oral and written, northern and southern artistic approaches. An opportunity to help enforce this change has now been created in Portugal.

Although it would be justified to approach the Iberian Peninsula and Latin America as a whole, the opportunity to encompass both Spanish and Portuguese-speaking territories in a single historical narrative was not seized in the editorial project by Carredano & Rodriguez referred to above; Portuguese and Brazilian musi-cology was thus confronted with the need to create a complementary, updated narra-tive of its own.

165

The Iberian geographical context is however a necessary point of departure; it has provided a valuable perspective to rethink intercultural phenomena (Ferreira 2004, 2015a, 2016c, 2016d). One should be reminded that Portugal, once the southern component of Galicia, is part of a larger Iberian cultural framework and that most of the Peninsula, including what eventually became Portuguese territory was under Islamic rule during four centuries. Cultural contact between Christian and Islamic realms continued until the 15th century, when Portugal began its expansion along the Moroccan coast. Beginning with the conquest of Ceuta in Morocco in 1415, Portuguese interest in West Africa led to an increasingly ambitious exploration of unmapped territories to the south. This was upheld by commercial interest, poli-tical acumen, religious zeal, navigational skills and military might. Once the possi-bility of reaching India by sea was secured, and with it, access to profits gained by direct merchandizing of spices and luxury goods, the Portuguese King proceeded to consolidate his control of sea routes in the south Atlantic and the Indian Ocean, which depended on wind regimes and control of selected ports. Brazil and Africa were instrumental in this larger context, which eventually led the Portuguese, in the first half of the 16th century, to establish commercial outposts also in Malaysia, China and Japan.

Music travelled overseas under different guises: melodic formulas, improvisati-onal skills and melodies known by rote; notated books and trained singers; instru-ments and their players, like the organists sent by the King of Portugal to the King of Abyssinia. Polyphony had reached Ningpo in China by 1541 and São Vicente in Brazil by 1551; works by Morales and Guerrero were sung in Luanda, Angola, in 1578.

Export of musical practices was coincidental, under particular conditions, with reverse musical influence. The exploration of the Western and Central African coast brought to Lisbon (and Seville) a rising number of African slaves and their descen-dants, who in the 16th century came to be a sizeable portion of the population, especi-ally in Lisbon. Imitations of black expressive identity appeared then on the theatrical stage, eventually finding their way into musical scores. An ensalada by Mateo Flecha el Viejo, possibly written in 1525 or shortly thereafter sets black sayings to music with characteristic syncopation. At the same time, culturally assimilated blacks or mixed race participated in standard musical practice. The famous composer and theorist Vicente Lusitano, who in the mid-16th century polemicized in Rome against Vicen-tino, was of African ascent. Yet religious music was apparently impenetrable to accul-turation, except, from around 1600, through the religious villancico in the vernacular language, used to celebrate the most joyous festivities, especially Christmas.

MANUEL PEDRO FERREIRАBEYOND NATIONS: A THEMATIC HISTORY

166


Example 1a. Olá zente, bars 9–29 (ed. Matta 2008: 1–13)

Example 1b. Oitavado, excerpt (Budasz 2002; ed. Budasz 2001: 386-88)

Central and West African musical ensembles were coordinated through the adoption of a cyclic rhythmic pattern, or timeline. In the above example (Ex. 1a) we can see that the syncopated, symmetrical rhythm of the villancico Olá zente, related to the standard West African timeline, has its counterpart in a dance, called arromba, or oitavado, from the late 17th-century (Ex. 1b), associated with Africans living in Lisbon (Budasz 2001). Although an equivalent pattern existed in early Iberian music (Ferreira 2015a), the ethnic associations of both the villancico text written in proto-creole, and the oitavado dance, favours the idea that in these particular contexts the model coincided with, or was incor-porated into the cultural practices of communities rooted in Africa.

Example 2a. Olá plimo Bacião, 1647 version, incipit (ed. Matta 2008: 71-78)

167

Example 2b. Paracumbé 7º tom, excerpt (Budasz 2002; ed. Budasz 2001: 368-69)

In another villancico, dating from 1647 (Ex. 2a), we can recognize a 12-beat time-line, repeated once; this pattern occurs in two other settings of this same text (Olá plimo Bacião) and, slightly modified, in another villancico from Coimbra, Aqui puesto de rodillas, all from around the same time (Matta 2008-2012). This rhythmic cycle exactly corresponds to the cumbé or paracumbé dance, as notated for guitar around 1700 (Ex. 2b). Although the paracumbé has been associated with Angola (Budasz 2001), it may be significant that so far in written music only 12-beat patterns have been traced, typical of the areas accessed through Guinea and Mina, and not 16-beat patterns, which point to Angola, further south; these would later become very impor-tant in the Caribbean and Brazil (Kubik 1979, 2014). This, with some delay, accords with the succession of documented slave-trade cycles before prohibition: roughly, the cycle of Guinea, or Senegambia (sixteenth century), the cycle of Angola (seven-teenth century), and the cycle of the Mina Coast and the Gulf of Benin (eighteenth and early nineteenth century).

Black slaves had been increasingly exported to Brazil, where, with the dramatic reflux of indigenous groups, they left a strong imprint on several kinds of music. The economic development of Brazil was slow, and eventually became intertwined with Africa: the archdiocese of Bahia, created in 1676, had jurisdiction also over São Tomé and Angola in Africa. An Atlantic triangle, Portugal-Brazil-West Africa, fed economic production through slavery. Afro-influenced genres of song and dance were construed for centuries around the north-south Atlantic triangle, even after Brazilian indepen-dence, and up to the 20th-century.

Brazilian historiography has produced, since the last quarter of the 20th century, impressive and abundant research on colonial slavery (Klein & Luna 2010, Hébrard 2012); this has demonstrated that slaves had agency and ability to act, coupling accommodation with resistance, and that the slave system did not necessarily follow racial lines (Paiva 1995, 2007). The most recent historiographical novelty is the emer-gence of Africa as a fully engaged partner, and not only the distant origin of a culture that travelled more or less intact across the Atlantic, on the same boats as the slaves: “Africa now emerges also as one of the cardinal points in a network of circulating goods, people, representations, and ideas that spread out across the Portuguese colo-nial empire and the countries born from it. This network was material, certainly, but it was also symbolic and intellectual.” (Hébrard 2012, p. 91). Such awareness has not yet been properly filtered into musicological research, exceptions notwithstanding (Budasz 2007).

At another level of intercultural exchange, Portugal, from the early 18th century onwards, had a pivoting role in the establishment of Italian-rooted music prac-


168


tices in south-America, including opera, which reached the Amazon already by the 18th-century. One should also be reminded that, contrary to all European colonizing powers, Portugal once had its capital across the Atlantic: for some time it was ruled from Brazil after the court established itself in Rio de Janeiro in 1807 in the wake of the Napoleonic invasions. Brazil’s independence was a move eventually controlled by the Portuguese crown prince, heir to the Imperial throne, who, after ruling in Rio as Emperor, later became King of Portugal. Thus Rio became heir to part of the royal musical library, now divided there between the Metropolitan Cathedral and the Nati-onal Library, and music in Brazil became, even after its declaration of independence in 1822, even more inseparable from its Portuguese heritage. Studies on music from Portugal and Brazil have accordingly been contributing pioneering reflections on both the circulation and appropriation of south-European music at all levels of society, and cultural miscegenation or stylistic hybridity.

* * *

The urge to reach fuller understanding of the cultural, social, historical, and poli-tical dimensions of music inspired many musicologists during the closing decades of the 20th century. According to Nicholas Cook (2008), musicology shifted then “towards the understanding of music in its multiple cultural contexts, embracing production, performance, reception, and all the other activities by virtue of which music is constructed as a significant cultural practice”.

All this impacted, to different degrees, musicology written by Portuguese-speaking authors. The academic community went through a dramatic growth both in Portugal and Brazil in the past twenty years, and became increasingly integrated into larger international networks. Two Portuguese research centres dedicated to music, INET and CESEM —both evaluated as “excellent” by the European Research Council in 2014, a rating confirmed in the 2019 external evaluation — have been bringing to Lisbon musicologists from all over the world, either as visiting scholars or as post-doctoral fellows. While INET specializes in ethnomusicology, CESEM has been especially concerned with the historiographical and epistemological dimensions of music. This has been done in close connection with Brazil, either directly or through a dedicated autonomous network, Caravelas, which focuses on over three hundred years of shared political history. The larger concerns of the international musicolo-gical community were thus assimilated, and were at the same time newly scrutinized through the lenses of an intercontinental identity.

In both Portugal and Brazil, increased epistemological awareness of political and ideological issues in relation to music produced an important revision of the relevant historiography (Ulhôa 2007, Neto 2010, Leoni 2010, Blomberg 2011, Ferreira 2011, Rodrigues 2011, Neto 2012, Abreu 2014, Ferreira 2015c). It also produced a number of studies touching on, or exploring the relation of music to politics and power (Contier 1998, Araújo 2002, Silva 2005, Pereira 2007, Budasz 2008, Rees 2009, Vargas 2010, Cardoso 2011, Nogueira 2011, Carvalho 2012, Castro 2013, Grey 2013, Palombini 2014, Cruz 2016, Ferreira 2016a, Cachopo 2017). This was on a par with attention to the

169

conditions attending music practice — psychological, technological, and organizati-onal — and the anthropological dimensions of ritualized behaviour (Giacomini 2006, Souza 2007, Holler 2010, Zamith 2011, Esposito 2013, Silva 2016). The discussion of social or individual identity in the experience of music in connection with gender and sexuality, or sociological interest in the role of women as artists and listeners converged with an increased valuation of private contexts of music-making (Faour 2006, Nogueira & Fonseca 2013, Esteireiro 2016, Jesus et al. 2016).

The tendency to bring popular music within the reach of historical musico-logy took giant steps as well as far as southern genres and theatrical traditions are concerned (Abreu 1999, Sandroni 2001, Poletto 2004, Livingston-Isenhour and Garcia 2005, Wisnik 2007, Freire 2011, Cruz 2013, Cymbron 2015, Vermes 2015, Colvin 2016). Other studies concerning style, learning procedures, productive systems and travelling musicians have illuminated the crucial importance of transnational exchanges (Brito 1989, Nogueira 1997, Budasz 2004, Magaldi 2004, Freeman 2006, Alvarenga 2008, Lanzelotte 2009, Lago 2010, Fagerlande 2011, Neto 2011, Cranmer 2012, Cymbron 2012, Dias 2012, Fernandes 2012, Goldberg 2012, Sá & Fernandes 2014, Cranmer 2016, Ferreira 2016b, Páscoa & Rodrigues 2016).

Much of the musicological effort during the last 25 years in Portugal and Brazil was nonetheless understandably directed to the preservation, cataloguing, study and edition of musical sources, and the research on, and recovery of historical instruments (Duprat 1995, Neves 1997, Castagna 2000, Ferreira 2005, Doderer & Machado 2009, Alvarenga 2011, Matta 2008-2012, Figueiredo 2010, Doderer & Machado 2012, Marques 2012, Figueiredo 2014, 2016, Alvarenga 2016). Excavating biographical information about musicians and their activity continues to be crucial to document music and their place in society (Mariz 1997, Mattos 1997, Fernandes 2005, Cabral 2008, Diniz 2009, Lanzelotte 2009). Stylistic and analytical studies are still needed to characterize artistic or traditional practices, and trace influ-ences or personal traits (Ferreira 1992, Nogueira 1997, Bezerra 2000, Freeman 2006, Nogueira 2006, Ferreira 2007a, Ferreira 2007c, Rocha 2008, Salles 2009, Alencastro et al. 2012, Lago 2012, Cosi 2014).

Indigenous traditions, after the pioneering syntheses of Azevedo (1938) and Camêu (1977) were the subject of many anthropological studies (e.g. Hill 1993; Seeger 1980, 1987, 2015), feeding a contextual approach to music (Bispo 1999, 1999-2002; Piedade 2011), while the connection with history was subject to critical revi-sion (Bastos 2006; Budasz 2006; Barros 2006, 2018); connections with archaeo-logy, in order to investigate pre-colonial practices and historical continuities, were also explored (Barros et al. 2015). Particularly valuable are those studies concer-ning African heritage (Kubik 1979, Pinto 1991, Béhague 1998, Pinto 1999-2001, Fryer 2000, Crook 2005, Cardoso 2006, Tugny et al. 2006, Budasz 2007, Naveda 2011, Lucas 2012, Graeff & Pinto 2012, Tinhorão 2012, Dettmann 2013, Hertzman 2013, Lucas & Lobo 2013, Peçanha 2013, Reily 2013, Ulhôa & Neto 2013, Graeff 2014, Kubik 2014). Although much is still to be done, the quantity and scope of published contributions already justified the compilation of a Bibliographic Guide for Afro-Brazilian Music (Gray 2014).


170


The idea of furthering musicological cooperation between Portugal and Brazil has been voiced before, but writing a history of music together is something else. I included this as a long-term goal in CESEM’s strategic plan encompassing 2015 to 2020, but preliminary work started only in February 2016. Consultation with colleagues followed; on 22 June a brief international meeting was convened. Suggestions were incorporated into a draft project and, in September, tentative contacts made for a future Consultative Board. I made public presentations of the preliminary draft in Belo Horizonte (Brazil), in late October, and Aveiro (Portugal), in early November. From December onwards a few meetings took place with consultants and two public round-tables were organized during a Symposium at Goiânia (Brazil), allowing the draft to develop into a full project. In 2017 non-academic extension partnerships were established on both sides of the Atlantic, and more recently contacts have been made with possible institutional partners in Brazil, both public and private.

The main challenges addressed by this project are: (1) to overcome the ingrained nationalistic historical paradigm, be it rooted in Absolutist, Liberal-Republican, or Modernist ideas; (2) to overcome artificial barriers between areas of musicological inquiry, exploring a diachronic approach to informal musics on a par with notation-based repertories; (3) to challenge the universal applicability of the analytical para-digm and hierarchies of genre originating in 19th-century Germany, using alternative paradigms and acknowledging the centrality of vocal music in southern traditions; (4) to challenge territorial closeness, underlining the Atlantic context (including the West and Central African coast), regional dynamics (Iberian Peninsula, South America), cross-influences and cultural encounters.

In short, we have embarked on a plan for large-scale, team-based musicological research from the earliest documented record to the 21st century, over a geographical area encompassing Portugal, its Atlantic islands, its colonial outposts along Western and Central Africa, and Brazil, according to historical approaches informed by recent critical debates among the international community. We also decided to bring this research under a novel umbrella, a thematically structured history of music acce-ssible both online and on paper, favouring superimposed chronologies, the dialec-tics of space, mediality, circulation and cultural exchange to the current linear and spatially static paradigms.

The planned history of music in the intercontinental Atlantic triangle has been structured according to six strands or sets of contents (described as a “volumes” for convenience, on account of their printed counterparts), each edited by two scholars, one of them from Portugal, the other from Brazil, under my own direction. These scholars were chosen on account of their expertise in the respective sub-fields. A seventh volume will contain indexes, chronologies, maps, iconographical materials and navigational clues.

Volume one, edited by Paulo Ferreira de Castro and Diósnio Machado Neto, will address Ideas, that is, how the different modes of discourse on music (theoretical, didactical, historiographical, philosophical, etc.) contributed historically to the defi-nition of the musical object and corresponding practices in Portugal and Brazil; and

171

also how the recent contributions of social and human sciences (in the domains of anthropology, sociology, hermeneutics, semiotics, etc.) find in music of the intercon-tinental Atlantic triangle a fertile ground for application, an opportunity to add to and develop contemporary thought in unique ways.

The following three volumes will be dedicated to religious, theatrical, and other practices, encompassing both notation-based and informal musics; each will be focused on a specific set of spaces. Volume two, edited by João Pedro d’Alvarenga and Fernando Lacerda Duarte, will address Cults or music in religious spaces, from the earliest documented stages to contemporary protestant music and Afro-Brazi-lian practices. Volume three, edited by David Cranmer and Márcio Páscoa, will be centered on theatrical Stages, encompassing not only dramatic music, but also theatre, dance and concert events. Volume four, edited by Luísa Cymbron and Alberto Pacheco, will be centred on ceremonial Places connected to Court and State, inclu-ding the military; entertaining places (other than the theatre), both closed and open; and teaching places.

The fifth volume, edited by Paula Ribeiro and Heloísa Valente, will acknowledge the role of Mediations on musical practices, with special emphasis on transmission technology, both old and new, and the ways it affects musical thought and recep-tion: orality, musical notations, instruments, reproduction industries, and modern media (radio, cinema, TV, Internet). The sixth volume, edited by the present author and Rogério Budasz, will address cultural Encounters, including migratory impacts, travelling routes, and musical transfers and accommodations of all kinds.

The editors will have the direct assistance of junior scholars and graduate students, and be able to commission specific work by external collaborators. A Consultative Board will allow the research team to gather information or guidance concerning specific matters.

The proposed schedule for this project presupposes the parallel development of its six strands over the course of three years each, through a combination of basic rese-arch, workshops, thematic symposia, an annual comprehensive seminar, and writing. We hope to find the additional funding needed to make it possible, and also the stamina, imagination, and diplomatic flair that such a project entails. If successful, it could inspire other musicologists, in other regions, to cooperate in transnational networks for the common good of intellectual debate, shared knowledge, increased awareness of cultural exchange or musical variety, and a more balanced historical view.


172


List of References

A. Music History: GeneralBeard, David e Kenneth Gloag (2016) Musicology: Th e Key Concepts, 2nd ed., London: Routledge.

Bergeron, Katherine e Philip V. Bohlman, eds. (1996) Disciplining Music: Musicology and Its Canons, Chicago: UCP.

Carredano, Consuelo, & Victoria E. Rodriguez, coord. (2009-2018) Historia de la música en España e Hispanoamérica, 8 vols., Madrid: Fondo de Cultura Económica.

Christensen, Dieter (1997) “Cross-cultural processes in Music: Directions of Research”, in Portugal e o mundo: o encontro de culturas na música / Portugal and the world: the encounter of cultures in music, ed. Salwa Castelo-Branco, Lisboa: Dom Quixote, 53-59.

Clayton, Martin, Trevor Herbert & Richard Middleton, eds. (2012). Th e Cultural Study of Music, 2nd ed., New York: Routledge.

Cook, Nicholas (2008) “We Are All (Ethno)musicologists Now”, in Stobart, Henry (ed.), Th e New (Ethno)musicologies, Lanham, Maryland: Scarecrow Press, 48-70.

Cook, Nicholas & Mark Everist, eds., (2001) Rethinking Music, Oxford: O.U.P.

Cook, Nicholas & Anthony Pople, eds. (2004) The Cambridge history of twentieth-century music, Cambridge: Cambridge University Press.

Fulcher, Jane (2010) The Oxford Handbook of the New Cultural History of Music, Oxford: Oxford University Press.

Grout, Donald J., Claude Palisca & J. Peter Burkholder (2014) A History of Western Music, 9th edition, New York: W. W. Norton.

Kramer, Lawrence (2003) “Musicology and Meaning”, Th e Musical Times 144/1883: 6-12.

Natt iez, Jean-Jacques, dir. (2003-2007), Musiques: une encyclopédie pour le XXIe siècle, 5 vols., Arles: Actes Sud.

Seaton, Douglas (2017) Ideas and Styles in the Western Musical Tradition, Fourth Edition, New York: Oxford University Press.

Taruskin, Richard (2005) Th e Oxford History of Western Music, Oxford: O.U.P.

B. African Culture and Music History Agawu, Kofi (2003) Representing African Music: Postcolonial Notes, Queries, Positions, New York:

Routledge.

Agawu, Kofi (2006) “Structural Analysis or Cultural Analysis? Competing Perspectives on the ‘Standard Pattern’ of West African Rhythm”, Journal of the American Musicological Society, 59/1: 1-46

Agawu, Kofi (2016) Th e African Imagination in Music, New York: Oxford University Press.

Aharonián, Coriún, ed. (2013). La Música Entre África y América : Music Between Africa and

173

the Americas, Montevideo: Centro Nacional de Documentación Musical Lauro Ayestarán / Ministerio de Educación y Cultura.

Alén, Olavo (2011) Occidentalización de las culturas musicales africanas en el Caribe, La Habana: Ediciones Museo de la Música.

Barry, Boubacar, et al. (2008) Africa, Brazil and the Construction of Trans-Atlantic Black Identities, Trenton, NJ: Africa World Press.

Blacking, John (1973) How musical is Man?, London: Faber & Faber.

Gilroy, Paul (1993) Th e black Atlantic: modernity and double consciousness, Cambridge: Harvard University Press.

Kubik, Gerhard (1994) Th eory of African Music, Vol. 1, Wilhelmshaven: F. Noetzel.

Kubik, Gerhard (2010) Th eory of African Music, Vol. 2, Chicago: Th e University of Chicago Press.

Monson, Ingrid T., ed. (2000) Th e African diaspora: a musical perspective, New York : Garland Publishing.

Naro, Nancy Priscilla, et al. (2007), Cultures of the Lusophone Black Atlantic, New York: Palgrave Macmillan.

Pais, José Machado, et al. (2004), Sonoridades luso-afro-brasileiras, Lisboa: Imprensa de Ciências Sociais.

Stone, Ruth (2005) Music in West Africa: Experiencing Music, Expressing Culture, New York: Oxford University Press.

Toussaint, Godfried (2003) “Classifi cation and Phylogenetic Analysis of African Ternary Rhythm Timelines”, in Proceedings of BRIDGES: Mathematical Connections in Art, Music and Science, University of Granada, Spain, 23-26 July 2003, ed. Javier Barallo et al.: 25-36.

C. Music History Involving Portugal, Brazil, Angola and Cape-Verde Abreu, Martha (1999) O Império do Divino, festas religiosas e cultura popular no Rio de Janeiro,

1830-1900. Rio de Janeiro: Nova Fronteira.

Abreu, Martha (2014) “Histórias musicais da Primeira República brasileira”, in A experiência da Primeira República em Portugal e no Brasil, coord. Alda Mourão e Ângela de Castro Gomes, Coimbra: Imprensa da Universidade: 111-134.

Alencastro, L. F., Fléchet, A., Pimentel, J., Pistone, D. (2012) Villa-Lobos, des sources de l’oeuvre aux échos contemporains, Paris: Honoré Champion Éditeur.

Alvarenga, João Pedro d’ (2008) “Domenico Scarlatti in the 1720s: Portugal, Travelling, and the Italianisation of the Portuguese Musical Scene”, in Domenico Scarlatti Adventures: Essays to Commemorate the 250th Anniversary of his Death, edited by Massimiliano Sala and W. Dean Sutcliff e, Bologna: Ut Orpheus Edizioni, 2008: 17-68.

Alvarenga, João Pedro d’ (2011) “Manuscripts Oporto, Biblioteca Pública Municipal, MM 40 and MM 76-79: Th eir Origin, Date, Repertories, and Context”, in Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner, edited by Tess Knighton and Bernadette Nelson, Kassel: Reichenberger: 27-58


174


Alvarenga, João Pedro d’ (2016) “Two Polyphonic Settings of the Mass for the Dead from Late Sixteenth-Century Portugal: Bridging Pre- and Post-Tridentine Traditions”, Acta Musicologica, 88/1: 5-33.

Appleby, David P. (1983) Th e Music of Brazil, Austin: University of Texas Press.

Araújo, Paulo Cesar de (2002) Eu não sou cachorro, não: música popular cafona e ditadura militar, Rio de Janeiro e São Paulo: Record.

Azevedo, Luiz Heitor Correa de (1938) Escala, ritmo e melodia na música dos índios brasileiros, Rio de Janeiro: Jornal do Commercio.

Barros, José d’Assunção (2006) “Música indígena brasileira – Filtragens e apropriações históricas”, Projeto História 32: 153-169.

Barros, José d’Assunção (2018) “Música dos índios brasileiros coletada no século XIX e primeira metade do século XX – Apropriações e releituras do colonizador e do músico ocidental”, Antropológicas 14: 4-13.

Barros, Líliam Cristina da Silva (2009) Repertórios musicais em trânsito: Música e identidade indígena em São Gabriel da Cachoeira, AM, Belém (Pará): UFPA.

Barros, Líliam Cristina da Silva, et al. (2015) “Música ameríndia no Brasil pré-colonial: uma aproximação com os casos dos Tupinambá e Tapajó”, Opus v. 21: 150-182.

Bastos, Rafael José de Menezes (2006) “O Índio na Música Brasileira: Recordando quinhentos anos de esquecimento”, in: Músicas Africanas e Indígenas no Brasil, Belo Horizonte: Editora UFMG, v.1: 115-127.

Bastos, Rafael José de Menezes (2007) “Música nas sociedade indígenas das terras baixas da América do Sul: estado da arte”, Mana 13/2: 293-316.

Bastos, Rafael José de Menezes (2013) A festa da jaguatirica: uma partitura crítico-interpretativa. Florianópolis, Brazil: Editora UFSC.

Batista, Carlos Bruce et al. (2013) Tamborzão - A Criminalização do Funk, R.J., Revan.

Beard, David e Kenneth Gloag (2016) Musicology: Th e Key Concepts, 2nd ed., London: Routledge.

Béhague, Gerard (1998) “Afro-Brazilian Traditions.” Garland Encyclopedia of World Music, vol. 2, New York: Garland, 272-287.

Bezerra, Márcio (2000) A Unique Brazilian Composer: A Study of the Music of Gilberto Mendes Th rough Selected Piano Pieces, Brussels: Alain Van Kerckhoven Éditeur.

Binder, Fernando & Paulo Castagna (1998) “Teoria musical no Brasil: 1734-1854”, I Simpósio Latinoamericano de Musicologia, Curitiba, 10-12.01.1997, Curitiba: Fundação Cultural de Curitiba, 198-217

Bispo, António Alexandre (1999) Brasil/Europa & Musicologia: Aulas, Conferências e Discursos. Anais de Ciência Musical, Akademie Brasil-Europa, Institut für Studien der Musikkultur des portugiesischen Sprachraumes./Instituto Brasileiro de Estudos Musicológicos. Colonia: I.S.M.P.S.

Bispo, António Alexandre, org. (1997-2002). Die Musikkulturen der Indianer Brasiliens. Ein Projekt durchgeführt mit Unterstützung durch das Auswärtige Amt der Bundesrepublik Deutschland, vol. I, Colonia: Luthe; vols. II-IV, Siegburg: Franz Schmitt.

175

Blomberg, Carla (2011) “Histórias da Música no Brasil e Musicologia: Uma leitura preliminar”, Música e Artes 43: 415-444.

Braga, Reginaldo Gil (1998) Batuque Jêje-Ijexá em Porto Alegre: a música no culto dos Orixás, Porto Alegre: Fumproarte.

Brito, Manuel Carlos (1989) Opera in Portugal in the eighteenth century, Cambridge: Cambridge University Press.

Brito, Manuel Carlos, & Luísa Cymbron (1992) História da música portuguesa, Lisboa: Universidade Aberta.

Budasz, Rogério (2001) “The Five-Course Guitar (viola) in Portugal and Brazil in the Late Seventeenth and Early Eighteenth Centuries”, Ph.D. Dissertation, University of Southern California.

Budasz, Rogério (2002) “Ecos do quilombo, sons da corte: Notas sobre o repertório português para viola”, in: A Música no Brasil Colonial, Lisboa: Fundação Calouste Gulbenkian, 365-88.

Budasz, Rogério (2006) “Of cannibals and the recycling of otherness.” Music & Letters 87/1: 1-15

Budasz, Rogério (2007) “Black guitar players and early African-Iberian music in Portugal and Brazil.” Early Music, 35/1: 3-21

Budasz, Rogério (2008) Teatro e música na América portuguesa: convenções, repertório, raça, gênero e poder, Curitiba: DeArtes/UFPR.

Cabral, Sérgio (2008) Antônio Carlos Jobim. Uma biografi a, São Paulo, IBEP Nacional.

Camêu, Helza (1977) Introdução ao Estudo da Música Indígena Brasileira, Rio de Janeiro: Conselho Federal de Cultura e Departamento de Assuntos Culturais.

Cardim, Pedro, et al (2012) Polycentric Monarchies: How Did Early Modern Spain and Portugal Achieve and Maintain a Global Hegemony?, Eastbourne: Sussex Academic Press.

Cardoso, Ângelo Nonato Natale (2006) “A linguagem dos tambores”. Tese de doutorado em Música, Universidade Federal da Bahia, Salvador.

Cardoso, Lino de Almeida (2011) O som social: Música, Poder e Sociedade no Brasil (Rio de Janeiro, séculos XVIII e XIX) SP: Edição do autor.

Carredano, Consuelo, & Victoria E. Rodriguez, coord. (2009-2018). Historia de la música en España e Hispanoamérica, 8 vols., Madrid: Fondo de Cultura Económica.

Carvalho, Mário Vieira de (2012) “Música e política: o ’caso’ de Fernando Lopes-Graça (1906-1994)”, in Música, Discurso, Poder, coord. Maria do Rosário Girão Santos e Elisa Maria Lessa, Vila Nova de Famalicão: Húmus, 15-41.

Carvalho, Mário Vieira de (2014) Escutar a literatura: Universos sonoros da escrita, Lisboa: Colibri.

Castagna, Paulo (1995) “Musicologia brasileira e portuguesa: a inevitável integração”, Revista da Sociedade Brasileira de Musicologia, São Paulo, 1: 64-79.

Castagna, Paulo (1999) “Uma abordagem musicológica da produção literária de Antônio Vieira (1608-1697)”, in FURTADO, Joaci Pereira (Org.). Antônio Vieira: o imperador do púlpito, São Paulo: Instituto de Estudos Brasileiros da Universidade de São Paulo, 39-72.

Castagna, Paulo (1999) “Th e Use of Music by the Jesuits in the Conversion of the Indigenous


176


Peoples of Brazil”, in John W. O’Malley et al. (eds.), Th e Jesuits: Cultures, Sciences, and the Arts, 1540-1773, Toronto: University of Toronto Press, 641-58.

Castagna, Paulo (2000) “O estilo antigo na prática musical religiosa paulista e mineira dos séculos XIX e XX”. Tese de doutoramento, Faculdade de Filosofi a, Letras e Ciências Humanas da Universidade de São Paulo.

Castagna, Paulo (2003) Apostilas do curso História da Música Brasileira. Instituto de Artes da Unesp.

Castelo-Branco, Salwa, ed. (1997) Portugal e o mundo: o encontro de culturas na música / Portugal and the world: the encounter of cultures in music, Lisboa: Dom Quixote.

Castro, Paulo Ferreira de (2013) “A Portuguesa e a representação musical da república”, in Luís Manuel A. V. Bernardo, Leonor Santa Bárbara e Luís Andrade (coord.), Representações da República, V. N. Famalicão: Húmus, 751-64.

Cidra, Rui (2011) “Música, Poder e Diáspora. Uma Etnografi a e História entre Santiago, Cabo Verde, e Portugal”, Dissertação de Doutoramento em Antropologia, FCSH - Universidade Nova de Lisboa.

Colvin, Michael (2016) Fado and the Urban Poor in Portuguese Cinema of the 1930s and 1940s, Rochester: Rochester University Press.

Ccontier, Arnaldo D. (1998) Passarinhada do Brasil: canto orfeônico, educação e getulismo, Bauru: EDUSC.

Costa, Jorge Alexandre, ed. (2015) Olhares sobre a História da Música em Portugal, Vila do Conde: Verso da História.

Cranmer, David, ed. (2012) Marcos Portugal – uma reavaliação, Lisboa: Colibri.

Cranmer, David (2016) “Giuseppe Millico and La pietà d’amore: from Naples to Lisbon to Rio de Janeiro”, Musica Hodie, vol. XVI/1 (2016): 45-52.

Cranmer, David (2017) Peças de um mosaico: temas da história da música referentes a Portugal e ao Brasil, Lisboa: Colibri.

Crook, Larry (2009) Music of Northeastern Brazil, 2005/1, 2nd ed., Nova Iorque e Londres: Routledge.

Crowl, Harry (2009) “A criação musical erudita e a evolução das mídias: dos antigos 78rpms à era pós-CD”, in O Futuro da Música depois da Morte do CD, Momento editorial. São Paulo, 143-158.

Cruz, Gabriela (2016) “Sr. José, the Worker mélomane, or Opera and Democracy in Lisbon ca. 1850”, 19th-Century Music 40: 81-105.

Cruz, Gabriela (2013) “Amália’s Suspended Voice”, Music in Print and Beyond: Hildegard von Bingen to Th e Beatles Edited by Craig A. Monson and Roberta Montemorra Marvin. Rochester: University of Rochester Press, 180-199.

Cymbron, Luísa (2012) Olhares sobre a música em Portugal no século XIX: Ópera, virtuosismo e música doméstica, Lisboa: Colibri.

Cymbron, Luísa (2015). “Camões in Brazil: Operetta and Portuguese Culture in Rio de Janeiro, circa 1880”, Opera Quarterly, Vol 31/1: 1-32.

177

Dettmann, Christine (2013) “History in the Making: An Ethnography into the Roots of Capoeira Angola”, Th e World of Music (New Series), vol. 2/2: 73-98.

Dias, Gustavo Angelo (2012) Um estudo comparativo entre Francesco Gasparini e os tratadistas portugueses do baixo contínuo (Dissertação de Pós-Graduação), Curitiba: Universidade Federal do Paraná.

Diniz, Edinha (2009) Chiquinha Gonzaga, uma história de vida, RJ: Zahar/IMS.

Doderer, Gerhard, & Dinarte Machado (2009) Órgãos das Igrejas da Madeira, Funchal: D.R.A.C.

Doderer, Gerhard, & Dinarte Machado (2012) Inventário dos órgãos dos Açores. Angra do Heroísmo: Governo Regional dos Açores.

Dottori, Maurício (2008) Th e Church Music of Davide Perez and Niccolò Jomelli – with special emphasis on funeral music. Curitiba: DeArtes - UFPR.

Duarte, Fernando Lacerda Simões (2016) “Resgates e abandonos do passado na prática musical litúrgica católica no Brasil entre os pontifi cados de Pio X e Bento XVI (1903-2013)”. Tese de doutorado, UNESP.

Duprat, Régis (1995) Música na Sé de São Paulo Colonial, São Paulo: Paulus/ Sociedade Brasileira de Musicologia.

Esposito, Francesco (2016) „Um movimento musical como nunca houve em Portugal”: Associativismo musical e vida característica da Lisboa liberal, Lisboa: Colibri.

Essinger, Silvio (2005) Batidão: uma história do funk, Rio de Janeiro e São Paulo: Record.

Esteireiro, Paulo (2016) Uma História Social do Piano: Emergência e declínio do piano na vida quotidiana madeirense, Lisboa: Edições Colibri.

Fagerlande, Marcelo (2011) O baixo contínuo no Brasil, 1751- 1851: os tratados em português. Rio de Janeiro: 7Letras/ Faperj.

Faour, Rodrigo (2006) História sexual da MPB: a evolução do amor e do sexo na canção brasileira, Rio de Janeiro: Record.

Fernandes, Cristina (2005) Devoção e Teatralidade – As Vésperas de João de Souza Vasconcelos e a prática litúrgico-musical no Portugal pombalino. Lisboa: Colibri.

Fernandes, Cristina (2006) “Portugal na Geografia do Barroco Musical Europeu”. In Denis Morrier, Crónicas Musicais de uma Europa Barroca. Lisboa: PÚBLICO/Centro Cultural de Belém, 103-132.

Fernandes, Cristina (2012) “«Il dotto e rispettabile Don Giovanni Giorgi», illustre maestro e compositore nel panorama musicale portoghese del Settecento”, Rivista Italiana di Musicologia nº47: 157-203.

Ferreira, Manuel Pedro (1992) “A Sinfonia em Si b Maior de Carlos Seixas (?): notas sobre o estilo, a data e o autor”, in Revista Portuguesa de Musicologia, 2: 147-60

Ferreira, Manuel Pedro (1994-1995) “Da Música na História de Portugal”, in Revista Portuguesa de Musicologia, 4-5: 167-216.

Ferreira, Manuel Pedro (2004) “Rondeau and Virelai: Th e Music of Andalus and the Cantigas de Santa Maria”, in Plainsong & Medieval Music, 13/2: 127-140.


178


Ferreira, Manuel Pedro (2005) Cantus Coronatus — Sete cantigas d’amor d’El-Rei Dom Dinis, Kassel: Reichenberger.

Ferreira, Manuel Pedro (2007) “Trajectórias da música em Portugal no século XX. Escorço histórico preliminar”, in Dez compositores portugueses, Lisboa: D. Quixote, 25-52, 366-77.

Ferreira, Manuel Pedro (2007) “Para uma arqueologia melódica do romanceiro de Alcácer Quibir”, in Kelly B. Basílio (org.), Romances de Alcácer Quibir, Lisboa: Colibri, 201-6.

Ferreira, Manuel Pedro (2008) Antologia de Música em Portugal na Idade Média e no Renascimento, 2 vols., 2 CDs, Lisboa: Arte das Musas / Cesem.

Ferreira, Manuel Pedro (2011) “Medieval Music in Portugal Within its Interdisciplinary Context (1940-2010)”, in José Mattoso (dir.), Th e Historiography of Medieval Portugal (c. 1950-2010), Lisboa: Instituto de Estudos Medievais, 111-29.

Ferreira, Manuel Pedro (2014) “Os cantares polifónicos a S. João na tradição popular minhota”, in Clara Saraiva, Jean-Yves Durand & João Alpoim Botelho (coord.), Caminhos e Diálogos de Antropologia Portuguesa. Homenagem a Benjamim Pereira, Viana do Castelo, Câmara Municipal de Viana do Castelo, 147-154.

Ferreira, Manuel Pedro (2015) “Rhythmic paradigms in the Cantigas de Santa Maria: French versus Arabic precedent”, Plainsong and Medieval Music, 24/1: 1-24.

Ferreira, Manuel Pedro (2015) “Solange Corbin et les sources musicales du Portugal”, in Solange Corbin et les débuts de la musicologie médiévale, éd. Christelle Cazaux-Kowalski, Jean Gribenski et Isabelle His. Rennes: Presses Universitaires de Rennes, 77-88.

Ferreira, Manuel Pedro (2015) “Th e Periphery Eff aced: Th e Musicological Fate of the Cantigas”, in ‘Estes Sons, esta Linguagem’. Essays on Music, Meaning and Society in Honour of Mário Vieira de Carvalho, edited by Gilbert Stöck, Paulo Ferreira de Castro and Katrin Stöck, Leipzig: CESEM/Gudrun Schröder-Verlag, 23-39.

Ferreira, Manuel Pedro (2016) “Th e Medieval Fate of the Cantigas de Santa Maria: Iberian Politics Meets Song”, Journal of the American Musicological Society, vol. 69/2: 295-353.

Ferreira, Manuel Pedro, ed. (2016) Musical Exchanges, 1100-1650: Iberian connections, Kassel: Reichenberger (Iberian Early Music Studies 2).

Ferreira, Manuel Pedro (2016) “Emulation and Hybridisation in Iberia: A Medieval Background”, in M. P. Ferreira (ed.), Musical Exchanges, Kassel: Reichenberger, 3-17.

Ferreira, Manuel Pedro (2016) “Parody and Music. Iberian Examples”, in Parodies courtoises, parodies de la courtoisie, coord. Margarida Madureira, Carlos Carreto & Ana Paiva Morais, Paris: Classiques Garnier, 197-220.

Ferreira, Manuel Pedro (2017) “Th e Portuguese Overseas: Overseers of Faith”, unpublished presentation at the IMS Congress in Tokyo, March 2017.

Ferreira, Roquinaldo (2012) Cross-Cultural Exchange in the Atlantic World: Angola and Brazil during the Era of the Slave Trade, Cambridge, UK: Cambridge University Press.

Figueiredo, Carlos Alberto (2010) Catálogo de publicações de música sacra e religiosa brasileira dos séculos XVIII e XIX, Rio de Janeiro, edição do autor (www.musicasacrabrasileira.com.br).

Figueiredo, Carlos Alberto (2014) Música sacra e religiosa brasileira dos séculos XVIII e XIX: teorias e práticas editoriais, Rio de Janeiro: edição do autor.

179

Figueiredo, Carlos Alberto (2016) Responsórios do Sábado Santo de David Perez (1711-1830) – estudo e edição crítica, Rio de Janeiro: edição do autor.

Florentino, Manolo, et al. (2004) “Aspectos comparativos do tráfi co de Africanos para o Brasil (séculos XVIII e XIX),” Afro-Ásia, 31: 83–126.

Fonesca, Jorge (1997) Escravos em Évora no século XVI, Évora: Câmara Municipal de Évora.

Franceschi, Humberto Moraes (2002) A Casa Edison e seu tempo, Rio de Janeiro: Sarapuí.

Franceschi, Humberto Moraes (2010) Samba de sambar do Estácio, 1928 a 1931, Rio de Janeiro: Instituto Moreira Salles.

Freeman, Peter (2006) “Eclecticism in the Music of Antônio Carlos Jobim: a Consideration of Stylistic Diversity”, PhD Dissertation, University of Queensland (Australia).

Freire, Vanda Bellard (2011) O mundo maravilhoso das mágicas, Rio de Janeiro: Contra Capa, FAPERJ.

Fryer, Peter (2000) Rhythms of resistance: African musical heritage in Brazil, Hanover, NH: Wesleyan Press.

Giacomini, Sonia Maria (2006) A alma da festa: família, etnicidade e projetos num clube social da Zona Norte do Rio de Janeiro, o Renascença Clube, Belo Horizonte e Rio de Janeiro: UFMG e Iuperj.

Goldberg, Guilherme (2012) Um Garatuja entre Wotan e o Fauno: Alberto Nepomuceno e o modernismo musical brasileiro, Porto Alegre: Editora Movimento.

Graeff , Nina (2014) “Fundamentos rítmicos africanos para a pesquisa da música afro-brasileira: o exemplo do Samba de Roda”, Música & Cultura (Salvador). Online, v. 9: 1-23.

Graeff , Nina, & Tiago de Oliveira Pinto (2012) “Música entre Materialidade e Imaterialidade: os tons-de-machete do Recôncavo Baiano / Music Between Tangibility and Intangibility: Th e Toques-de-Machete from Recôncavo Baiano”. Revista Mouseoin. Revista Eletrônica do Museu e Arquivo Histórico La Salle, ano 1/10: 72-97.

Gray, John (2014) Afro-Brazilian music: a bibliographic guide. Nyack, New York: African Diaspora Press.

Grey, Lila (2013) Fado Resounding: Aff ective Politics and Urban Life, Duke University Press.

Hebrard, Jean (2012) “L’esclavage au Brésil: le débat historiographique et ses racines,” in Brésil: quatre siècles d’esclavage. Nouvelles questions, nouvelles recherches, ed. Jean Hébrard, Paris: Karthala & CIRESC, 7–61. English version in Translating the Americas, 1 (2013), 47-95.

Herschmann, Micael, ed. (1997) Abalando os anos 90. Funk e HipHop: globalização, violência e estilo cultural, Rio de Janeiro: Rocco.

Hertzman, Marc Adam (2013) Making samba: a new history of race and music in Brazil. Durham, N.C.: Duke University Press.

Hill, Jonathan D. (1993) Keepers of the Sacred Chants: Th e Poetics of Ritual Power in an Amazonian Society, Tucson: University of Arizona Press.

Holler, Marcos (2010) Os jesuítas e a música no Brasil colonial, Campinas: Editora Unicamp.

Jesus, Isabel H. de, Paula G. Ribeiro, Rita Mira & Zília O. de Castro, eds. (2016) Falar de mulheres: dez anos depois, Lisboa: Edições Húmus.


180


Klein, Herbert S., and Luna, Francisco Vidal (2010) Slavery in Brazil, Cambridge, UK: Cambridge University Press.

Lahon, Didier (2001) “Esclavage et Confré ries Noires au Portugal durant l’Ancien Ré gime (1441-1830).” Th èse pour l’obtention du grade de Docteur de L’EHESS, Paris, Ecole des Hautes Etudes en Sciences Sociales.

La Via, Stefano (2014) Chico Buarque, Canzoni, traduzione con testo a fronte, saggio introduttivo, appendici documentarie, schede critiche (CD-rom) e incisioni inedite (CD-audio), Pavia: Pavia University Press.

La Via, Stefano, and Claudio Cosi (2017) Bossa Nova Canção — Prospettive teoriche e analisi poetico-musicali, Lucca: Libreria Musicale Italiana.

Lopes, Edmundo Correia (1944) A escravatura: subsídios para a sua história, Lisboa: Agência Geral das Colónias.

Kubik, Gerhard (1970) Música tradicional e aculturada dos Kung de Angola: uma introdução ao instrumentário, estrutura e técnicas de execução da música dos Kung, incidindo em especial nos factores psicológico-sociais da actual mudança na cultura dos povos Khoisan, Lisboa: Junta de Investigações do Ultramar.

Kubik, Gerhard (1979) Angolan traits in black music, games and dances of Brazil: A study of African cultural extensions, Lisboa: Junta de Investigações Científi cas do Ultramar.

Kubik, Gerhard (1997) “Cultural interchange between Angola and Portugal in the domain of music since the sixteenth-century”, in Portugal e o mundo: o encontro de culturas na música / Portugal and the world: the encounter of cultures in music, ed. Salwa Castelo-Branco, Lisboa: Dom Quixote, 407-30.

Kubik, Gerhard (2014) Extensions of Black Culture in Brazil, Brooklyn, NY: Diasporic Africa Press.

Kubik, Gerhard (2014) Angola in the black cultural expressions of Brazil, Brooklyn, NY: Diasporic Africa Press.

Lago, Manoel Aranha Corrêa do (2010) O Círculo Veloso-Guerra e Darius Milhaud no Brasil: modernismo musical no Rio de Janeiro antes da Semana, RJ: RELER.

Lago, Manoel Aranha Corrêa do (2012) O Boi no Telhado: Darius Milhaud e a música brasileira no Modernismo francês, São Paulo: Instituto Moreira Salles.

Lalzelotte, Rosana (2009) Música Secreta: minha viagem ao Brasil (1816-1821) – Sigismund Neukomm, Rio de Janeiro: Arteensaio.

Leoni, Aldo Luiz (2010) “Historiografi a musical e hibridação racial”, Revista Brasileira de Música (RJ), v. 23/2: 95-119.

Livingston-Isenhour, Tamara Elena, & Thomas Garcia (2005) Choro: A Social History of a Brazilian Popular Music, Bloomington: Indiana University Press.

Lopes, Alcides José Delgado (2017) Os Tamborileiros da ilha das Montanhas: Música e sociabilidade no Colá Son Jon de Porto Novo, Praia (Cabo Verde): Pedro Cardoso Livraria.

Lopes, Nei, & Luiz Antonio Simas (2015) Dicionário da história social do samba, Rio de Janeiro: Civilização Brasileira.

181

Losa, Leonor (2013) Machinas fallantes: A música gravada em Portugal no início do século XX, Lisboa: Tinta da China.

Lucas, Maria Elizabeth (2012) “Ver, ouvir, delatar: um estudo das alteridades musicais europeias e africanas no espaço Atlântico (séculos XVII-XVIII)”, in Lucas, M. E. & R. Nery (orgs), As Músicas Luso-Brasileiras no Final do Antigo Regime: Repertórios, Práticas e Representações. Lisboa: Fundação C. Gulbenkian/ Imprensa Nacional-Casa da Moeda.

Lucas, Maria Elizabeth, & J. Lobo (2013) O Ensaio de Promessa entre quilombolas do Rio Grande do Sul. Brasília: Iphan/UFRGS. Includes 2 CDs

Magaldi, Cristina (2004) Music in Imperial Rio de Janeiro: European culture in a tropical millieu, Lanham, MD: Scarecrow Press.

Maia, Clarissa Nunes (2008) Sambas, batuques, vozerias e farsas públicas: O controle social sobre os escravos em Pernambuco no século XIX (1850-1888), São Paulo: Annablume.

Mariz, Vasco (1981) História da Música no Brasil, 1ª ed. Rio de Janeiro: Editora Civilização Brasileira; 7ª ed. ampliada e actualizada, Rio de Janeiro: Nova Fronteira, 2009; 8ª edição: Rio de Janeiro: Ediouro, 2012.

Mariz, Vasco, ed. (1997). Francisco Mignone, o homem e a obra, Rio de Janeiro: Funarte/ed.UERJ.

Marques, António Jorge (2012) A obra religiosa de Marcos António Portugal (1762-1830), Lisboa: Biblioteca Nacional de Portugal.

Martins, Vasco (1989) A música tradicional Cabo-Verdiana, vol. I : (A Morna), Praia (Cabo Verde): Instituto Cabo-Verdiano do Livro e do Disco.

Martins, Vasco (2018) Cabo Verde Ressonâncias, vol. I: A Morna, estudos adjutórios, Praia, Cabo Verde: Pedro Cardoso Livraria.

Matos, Valéria (2015) “O Motu Proprio tra le Sollecitudini (1903) e sua Representação na Música Sacra e Religiosa”, Tese de doutorado, Rio de Janeiro: Programa de Pós-graduação em Música, Centro de Letras e Artes, UNIRIO.

Matta, Jorge (2008-2012) Manuscrito 50 da Biblioteca Geral da Universidade de Coimbra, 2 vols. Lisboa: Colibri.

Mattos, Cleofe Person de (1997) José Maurício Nunes Garcia: biografi a, Rio de Janeiro: Fundação Biblioteca Nacional.

Menezes, Enrique Valarelli (2018) “Transformação de padrões centro-africanos no samba urbano do Rio de Janeiro: 1933-1978”, Revista do Instituto de Estudos Brasileiros 70: 78-103.

Miguel, Ana Flávia (2010) “Kola San Jon, música, dança e identidades Cabo-Verdianas”. Aveiro: Universidade. Dissertação de Mestrado em Música.

Naveda, Luiz (2011) “Gesture in Samba. A cross-modal analysis of dance and music from the Afro-Brazilian culture”. PhD, dissertation, University of Ghent.

Nelson, Bernadette (2011) “Music Treatises and Artes para Tanger in Portugal before the 18th Century: An Overview”, in Ana Duarte Rodrigues e Rafael Moreira (coords.), Art Treatises and their circulation in Portugal. Tratados de Arte e a sua circulação em Portugal, Lisboa: Scribe, 129-54.

Nery, Rui Vieira (2004) Para uma História do Fado, 1ª ed., Lisboa: Imprensa Nacional - Casa da Moeda; 2ª ed. 2012.


182


Nery, Rui Vieira & Paulo Ferreira de Castro (1991) História da música, Lisboa: Imprensa Nacional - Casa da Moeda.

Neto, Diósnio Machado (2010) “Curt Lange e Régis Duprat: os modelos críticos sobre a música no período colonial brasileiro”, Revista Brasileira de Música (RJ), 23/2: 73-93.

Neto, Diósnio Machado (2012) “O «mulatismo musical»: processos de canonização na historiografi a musical brasileira”, in: Maria do Rosário Girão Santos, Elisa Maria Lessa (org.), Música, Discurso e Poder, Vila Nova de Famalicão: Humus/Universidade do Minho, 287-308.

Neto, Mário Marques Trilha (2011) “Teoria e Prática do Baixo Contínuo em Portugal (1735-1820)”, Diss. de Doutoramento, Universidade de Aveiro.

Neves, José Maria (1997) Catálogo de Obras: Música Sacra Mineira, Rio de Janeiro: Funarte.

Nogueira, Gláucia Aparecida (2015) Batuku de Cabo Verde. Percurso histórico-musical. Praia (Cabo Verde): Pedro Cardoso Livraria.

Nogueira, Ilza (1997) Ernst Widmer: perfi l estilístico, Salvador: Escola de Música da UFBA.

Nogueira, Ilza (2011) “A criação musical em diálogo com o contexto político-cultural: o caso do Grupo de Compositores da Bahia”, Revista Brasileira de Música, Rio de Janeiro: UFRJ, vol. 24: 351-380.

Nogueira, Isabel Porto, & Susan Campos Fonseca, eds. (2013) Estudos de gênero, corpo e música: abordagens metodológicas, Goiânia/Porto Alegre: ANPPOM (Série Pesquisa em Música no Brasil, 3).

Nogueira, Marcos Pupo (2006) Muito além do melodrama: os prelúdios e sinfonias das óperas de Carlos Gomes, São Paulo: Editora UNESP.

Oliveira, Maria Inês Côrtes de (1997) “Quem eram os ‘Negros da Guiné’? A origem dos africanos na Bahia,” Afro-Ásia, 19–20: 37–73.

Paixão, Ana Margarida Madeira Minhós da (2008) “Retórica e técnicas de escrita literária e musical em Portugal nos séculos XVII-XIX”, Tese de Doutoramento, Lisboa: Universidade de Lisboa/Faculdade de Letras.

Paiva, Eduardo França (1995) Escravos e libertos nas Minas Gerais do século XVIII: estratégias de resistência através dos testamentos, São Paulo: Annablume.

Paiva, Eduardo França (2007) “Depois do cativeiro: a vida dos libertos nas Minas Gerais do século XVIII”, in História de Minas Gerais: As minas setecentistas, vol. 1, org. Luiz Carlos Villalta & Maria Efi gênia Resende, Belo Horizonte: Autêntica Editora, 505-21.

Palombini, Carlos (2014) “A Era Lula/Tamborzão: política e sonoridade”, Revista do Instituto de Estudos Brasileiros 58, São Paulo: Instituto de Estudos Brasileiros, 157–207.

Parés, Luis Nicolau (2006) A formação do Candomblé: história e ritual da nação jeje na Bahia, Campinas, SP: Editora da Unicamp.

Páscoa, Márcio (2009) Ópera em Belém, Manaus: Valer.

Páscoa, Márcio (2009) Ópera em Manaus, Manaus: Valer.

Páscoa, Márcio, & Arley Rodrigues (2016) “Os Sei duetti per due fl auti traversi de Antonio Rodil (ca.1730-1788) e uma breve refl exão sobre sua carreira”. Anais: IV Simpósio Internacional de Música Íbero-Americana e I Congresso da Associação Brasileira de Musicologia. Belo Horizonte: EdUFMG, vol. I: 137-156.

183

Peçahna, João Carlos de Souza (2013) “A trindade da música popular (afro)brasileira – João da baiana, Donga e Pixinguinha: redimensionamentos das contribuições das matrizes africanas na formação do choro e do samba”. Dissertação (Mestrado em Música), Universidade de Brasília.

Pereira, Avelino Romero (2007) Música, sociedade e política: Alberto Nepomuceno e a República Musical, Rio de Janeiro: Editora UFRJ.

Piedade, Acácio Tadeu (2011) “Análise musical e contexto na música indígena: a poética das fl autas”, TRANS - Revista Transcultural de Música 15.

Pinto, Tiago de Oliveira (1991) Capoeira, Samba, Candomblé. Afro-brasilianische Musik im Recôncavo, Bahia. Berlin: Museum fü r Völkerkunde.

Pinto, Tiago de Oliveira (1999-2001) “As cores do som. Estruturas sonoras e concepções estéticas na música afro-brasileira”. África. Revista do Centro de Estudos Africanos 22-23: 87-109.

Poletto, Fabio (2004) “Tom Jobim e a modernidade musical brasileira: 1953- 1958”, Dissertação de Pós-Graduação em História, Curitiba, Universidade Federal do Paraná.

Reily, Suzel (2013) “Reconceptualising ‘Musical Mulatismo’ in the Mining Regions of Portuguese America”, Th e World of Music (New Series), vol. 2/2: 25-46.

Prass, Luciana (2013) Maçambiques, quicúmbis e ensaios de promessa: musicalidades quilombolas do sul do Brasil, Porto Alegre: Sulina.

Rafael, Ulisses Neves (2013) “Festas populares sob perspectiva comparativa: Brasil e Portugal”, in Patrimônio cultural em discussão: novos desafi os teórico-metodológicos, org. Carlos Sandroni e Sandro Guimarães de Salles, Recife: Ed. Universitária da UFPE, 58-84.

Reginaldo, Lucilene (2009) “«Á frica em Portugal»: devoç õ es, irmandades e escravidã o no Reino de Portugal, sé culo XVIII”, História 28/1: 289-319.

Rocha, Júlio Cesar Moretzsohn (2008) “As missas de J. J. Emerico Lobo de Mesquita: Um estudo estilístico”. Rio de Janeiro: Uni-Rio. Tese de Doutorado.

Rodrigues, Ana Maria, ed. (1999) Os Negros em Portugal – sécs. XV a XIX, Lisboa: Comissão Nacional para as Comemorações dos Descobrimentos Portugueses.

Rodrigues, Lutero (2011) Carlos Gomes – um tema em questão: a ótica modernista e a visão de Mário de Andrade, São Paulo: Editora UNESP.

SÁ, Vanda de, & Cristina Fernandes, eds. (2014), Música instrumental no período fi nal do Antigo Regime: contextos, circulação e reportórios, Lisboa: Colibri.

Salles, Paulo de Tarso (2009) Villa-Lobos: Processos Composicionais, Campinas: Editora da Unicamp.

Sandroni, Carlos (2001) Feitiço decente: transformações do samba no Rio de Janeiro (1917-1933), Rio de Janeiro: Jorge Zahar Editores, 1ª ed.; 2ª ed. 2012.

Santo, Spirito (2011) Do samba ao funk do Jorjão: ritmos, mitos e ledos enganos no enredo de um samba chamado Brasil, Petrópolis: KBR (1ª ed.); Rio de Janeiro: Sesc, 2016 (2ª ed., revista e ampliada).

Saraiva, Clara (2008) “Transnational migrants and transnational spirits: an African religion in Lisbon”, Journal of Ethnic and Migration Studies, special issue edited by R. Grillo and Valentina Mazzucato, 34/2: 253-269.


184


Saraiva, Clara (2013) “Pretos velhos across the Atlantic: Afro-Brazilian religions in Portugal”, in Th e Diaspora of Brazilian Religions, ed. Cristina Rocha and Manuel A. Vásquez, Leiden: Brill, 197-222.

Schmidt-Wrenger, Barbara (1979) Rituelle Frauengesänge der Tshokwe: Untersuchungen zu einem Säkularisierungsprozess in Angola und Zaïre, Tervuren : Musée Royal de l’Afrique Centrale.

Seeger, Anthony (1980) “O que podemos aprender quando eles cantam – gêneros vocais do Brasil Central”, in Os Índios e Nós – estudos sobre Sociedades Tribais Brasileiras, Rio de Janeiro: Campus, 83-106.

Seeger, Anthony (1987) Why Suyá sing: a musical anthropology of an Amazonian people. Cambridge: Cambridge University Press.

Seeger, Anthony (2015) Por que cantam os Kisêdjê?, São Paulo: Cosac Naify.

Severiano, Jairo, & Zuza Homem de Mello (1997-1998) A canção no tempo: 85 anos de músicas brasileiras, 2 vols., São Paulo: Editora 34.

Silva, Manuel Deniz (2005) «La musique a besoin d’une dictature»: Musique et politique dans les premières années de l’Etat Nouveau (1926-1945), Th èse de doctorat, Université de Paris VIII.

Silva, João Luís Leitão (2016) Entertaining Lisbon: Music, Th eater and Modern Life in the Late Nineteenth-century, Oxford: Oxford University Press.

Silva Filho, Antonio Luiz Macêdo e (2006) Rumores: a paisagem sonora de Fortaleza (1930-1950), Fortaleza: Museu do Ceará.

Slenes, Robert S. (2008) “Saint Anthony at the Crossroads in Kongo and Brazil: ‘Creolization’ and Identity Politics in the Black South Atlantic, ca. 1700/1850,” in Africa, Brazil and the Construction of Trans-Atlantic Black Identities, ed. Boubacar Barry, Élisée Soumonni, and Lívio Sanson, Trenton, NJ: Africa World Press, 209–254.

Souza, Ana Guiomar Rêgo (2007) “Paixões em Cena: A Semana Santa na Cidade de Goiás (Séc. XIX)”, Tese de doutorado, Brasília: UnB/ Instituto de Ciências Humanas/ Departamento de História.

Tatit, Luiz (1996) O cancionista: composição de canções no Brasil, São Paulo: EDUSP.

Tatit, Luiz (2004) O Século da Canção, São Paulo, Ateliê Editorial.

Tavares, Manuel de Jesus (2005) Aspectos evolutivos da música cabo-verdiana, Praia, Cabo Verde: Centro Cultural Português/ Instituto Camões.

Tinhorão, José Ramos (1988) Os negros em Portugal: uma presença silenciosa, Lisboa: Caminho.

Tinhorão, José Ramos (2012) Festa de negro em devoção de branco: do carnaval na procissão ao teatro no círio, São Paulo: Editora UNESP.

Treece, David (2013) Brazilian Jive: From Samba to Bossa and Rap, London, Reaktion Books.

Tugny, Rosangela & Ruben Caixeta Queiroz, eds. (2006) Músicas africanas e indígenas no Brasil, Belo Horizonte: UFMG.

Ulhôa, Martha T. (2007) “Inventando moda — a construção da música brasileira”, ICTUS (PPGMUS/UFBA), vol. 8: 1-14

Ulhôa, Martha T., & Luiz Costa-Lima Neto (2013) “Memory, history, and cultural encounters in

185

the Atlantic: the case of Lundu.” Th e World of Music (New Series), vol. 2/2: 47‐72.

Vargas, António Pinho (2010), Música e poder: Para uma sociologia da ausência da música portuguesa no contexto europeu, Coimbra: Almedina.

Vermes, Mónica (2015) “Música e músicos nos teatros do Rio de Janeiro (1890-1920): trânsitos entre o erudito e o popular”, Música Popular em Revista, vol. 2: 7-31.

Viana, Fábio Henrique (2013) A paisagem sonora de Vila Rica e a música barroca das Minas Gerais (1711-1822), Belo Horizonte: C/Arte Editora.

Wisnik, José Miguel. “Entre o Erudito e o Popular” (2007), Revista de História, 157: 55-72.

Zamith, Rosa Maria (2011) Quadrilha, da partitura aos espaços festivos: música dança e sociabilidade no Rio de Janeiro oitocentista. Rio de Janeiro: Epapers.

Мануел Педро Фереира

Изван нација: једна тематска историја

(Р )

У овом чланку описан је пројекат који је тренутно у току (2018–2022): зајед-ничка Тематска историја музике у Португалији и Бразилу. Описан је контекст, разлози за започињање оваквог пројекта, његова структура и процес који је довео до јавног представљања и прелиминарних истраживања при Центру за проучавање социологије и естетике музике CESEM/FCSH, Нови универзи-тет у Лисабону. Посебно је наглашен значај Африке за разумевање неких ка-рактеристика не само модерне популарне музике, већ и жанрова португал-ске и бразилске музике од XVI до XVIII века. У циљу илустровања овог раног утицаја дати су примери и полифоне и инструменталне музике.

Постојеће историје музике у Португалији и Бразилу старије су од четврт века, а музиколошке заједнице у обема земљама у великој мери су еволуирале у од-носу на моменат објављивања ових публикација. Поред тога, последњих де-ценија интензивирале су се прекоатланске везе међу научницима, а порасла је и критичка историографска свест; обе околности довеле су до спознаје да је историја музике с обе стране Атлантика у земљама у којима се говори пор-тугалски језик недовољно и неадекватно репрезентована. Због тога је циљ ове тематске историје да превазиђе како националне историјске парадигме, тако и германоцентрични поглед на музичку прошлост, којим су била обојена проучавања музике у јужним земљама. Територијални опсег овакве тематске историје обухвата троугао Иберијско полуострво – Африка – Јужна Амери-


186


ка, са додатним референцама на друге континенте, обухватајући обе Земљи-не хемисфере. Вештачке поделе на писане и усмене изворе, уметничку и по-пуларну музику, биће одбачене. Вишеструкост перспектива омогућиће нам да проучавамо не само композиторе и њихова дела, већ и идеје, рецепцију и ис-торијат институција, професионална умрежавања, извођачке праксе и друго.

Кључне речи: транснационална историја, културалне размене, трансатлантско умрежавање, афрички утицај

Documents

Beyond Nations : A Thematic History